In "Endless Reality: Incarnation, Immortality, New World, and the Dawn of Virtual Revolution" (2011), Blaskovic and Byronson argue that "the virtual world is almost as old as human history."
Storytelling, painting, sculpture, drama, manuscripts, printing, photography, videography, electrification, broadcasting, computers, and the Internet. The author believes that the effect of these media is comparable to the "Ayahuasca" (which can make people Hallucinations and falling into the so-called "psychic" state) are no different in a sense, they all allow people to volley from the physical world under their feet and reach another fantasy world.
From the perspective of the history of media technology, Zhou Kui believes that the "virtualization" trend of media forms has existed since ancient times: from the wall paintings of the caves in the Vézel Canyon in France to Plato's philosophical metaphors about cavemen to the caves created by the University of Illinois in the digital age Like a virtual reality environment, the history of media development has completed the return from "natural cave" to "virtual cave". "Virtual reality is not a new thing, but a new label."
At present, the rising of Virtual Reality (VR) provides new possibilities for the ancient desire to create illusions. Virtual reality is undoubtedly a media art that combines "technology, media and public participation", and it is one of the most dynamic and possible media art at the moment. Virtual reality embodies the technological attributes of media art: "Towards mechanized, electronic, and digitalized non-destructive and free copy creation in creation; towards non-materialized analog/virtual content communication in dissemination; towards human aesthetics in acceptance The reintegration of perception methods.â€
Virtual reality not only carries a continuation, but also declares a break. Our desire to escape into the illusion remains the same as before, but the method of escape into the illusion ushered in a drastic change. With the advancement of digital media technology, virtual reality may become the ultimate means for people to reach the fantasy world, and the original media means will inevitably be dwarfed by then.
The chains that bound the gates of the fantasy world have broken one after another, and the virtual revolution is booming, reshaping the land under our feet.
What is virtual reality?
The term "virtual reality" first appeared in the French dramatist Ontonan Ardau's book "Theatre and Its Complex" (1958). Arduo believes that drama, like alchemy, is a process of the purification and sublimation of virtual reality into the symbolic world. He calls it the "spiritual complex." Arduo's understanding of virtual reality is similar to drama, which is a fake reality.
However, the practice of virtual reality appeared earlier than its term. Flight simulation is generally regarded as the predecessor of virtual reality. In the 1920s, the "Link Machine" developed by Edwin Link of the United States can be regarded as one of the early attempts of virtual reality. After entering the closed "cabin", the user listens to instructions, receives feedback, and simulates flight by operating the dashboard in front of him. The "Link Machine" is like a merry-go-round in an amusement park, which can move up and down to simulate various feelings when flying. Using flight simulators to train future pilots not only reduces costs, but is also safer.
In 1935, American science fiction writer Stanley Weinbaum published the novel "Pygmalion's Glasses". In the story, a professor invented a pair of glasses. After wearing them, you can cross the screen and enter the image. "You are a character in the story, you are in the story, just like a dream!" Unlike Alice falling into the rabbit hole to roam the wonderland, Weinbaum envisions that we can enter the virtual world with specific visual devices.
In the 1950s, an American film projectionist Morton Heilig imagined a screen that occupies the entire field of view of the audience. The screen is not flat but curved, and does not require glasses. It is a panoramic view. An illusion of being in it. "In virtual reality, the screen will swallow the audience from head to toe!" Heilich later put forward a bold idea in "Future Movie" (1955), intending to build a device that integrates the five human senses. Allow the audience to fully immerse themselves in the film.
By 1962, when the concept came to fruition, Heilig developed a device called "Sensor Cinema". This is a three-dimensional movie device, and its shape is quite similar to the coin-operated arcade machine in the game hall. The user sits on a motorcycle seat with vibration function, and in front of him is a pre-recorded short film of desert scenery. The device not only makes a roar, but also blows by a fan, which creates a feeling of driving in the desert.
In 1965, American computer expert Ivan Suzeran published an article called "The Ultimate Display", predicting that in the future, computers will provide a window into virtual reality, and people can stroll through the digital wonderland without being restricted by the physical world. Of the law.
Three years later, Su Zelan developed a helmet-mounted display at the Massachusetts Institute of Technology. The helmet displays graphics by tracking the user's head movement. Although the graphics are inevitably simple-just a few line segments, the device has initially realized key technologies such as stereoscopic image display, virtual image generation, and head position tracking. Therefore, many people believe that Su Zelan is the true "father of virtual reality" instead of Hailixi. At that time, this device was so heavy that the designer had to hang a bracket from the ceiling to fix it so that it could be used normally. As a result, it quickly won the nickname "Sword of Damocles", as if the user could kill him at any time.
Ivan Sutherland, The Father of Computer Graphics
In 1984, at a humble community college in Silicon Valley, a makeshift project team began to explore virtual reality technology. Jarion Lanier, who was only 24 years old at the time, led the establishment of the VPL research company, dedicated to the commercialization of virtual reality technology and manufactured a series of virtual reality equipment. Regrettably, these products are far from people's expectations: hardware devices are not only expensive, but also bulky and slow, and the user experience is still terrible. In the end, the product suffered a disastrous failure in the market without any suspense. At that time, some media claimed that the technology did not exist. The VPL company declared bankruptcy in the 1990s, and the only result was the promotion of the term "virtual reality".
However, the fire of virtual reality is still retained after all. In recent years, as key technologies such as tracking, rendering, and display have matured, more low-cost and high-quality devices have begun to appear on the market. People suddenly realized that virtual reality is “familiar†and it is becoming a new favorite among investors. In March 2014, Facebook spent US$2 billion to acquire Oculus (the company is committed to the development and promotion of virtual helmets and other devices). Founder and CEO Mark Zuckerberg asserted that virtual reality is the next after smartphones The platform will profoundly change the way we live, work and socialize. After companies such as Google and Sony were unwilling to do so, they marched aggressively and rushed into the beach, as if virtual reality was the next frontier. Investors believe that the first to get a virtual reality ticket means that they will have a great future in the world.
With the development and maturity of technology, the academic circles' definition of virtual reality has also "turned from rough to fine." The original differences have narrowed and the concept has gradually become clear.
In 1994, American scholar Michael Heim argued in his book "The Metaphysics of Virtual Reality" that "virtual reality is an event or entity that is not real but has realistic effects." Heim sorted out the seven major indicators for measuring virtual reality at that time: simulation, interaction, artificial, immersion, presence, whole body immersion, and network communication. These indicators are really helpful to the measurement of virtual reality, but they inevitably overlap each other.
Jonathan Stahl is dissatisfied with the strong definition of virtual reality as a "set of technological devices" by commercial capital. They try to re-understand virtual reality from the perspective of communication: virtual reality refers to a series of perceptual experiences caused by the media. In order to achieve a certain sense of presence, virtual reality is different from pure psychological phenomena (such as dreams or hallucinations), because these experiences do not require the intervention of perception. Stahl also proposed two important evaluation indicators: vividness (breadth, depth) and interactivity (speed, scope, mapping).
Mario Gutierrez and others refined the indicators of virtual reality into: immersion and presence. The former has different degrees of depth and depends on the user's perception (visual, auditory, touch, etc.); the latter is more subjective and related to the user's psychology. Gutierrez reminded us to pay attention to the difference between the sense of presence and participation: it can be on the spot without a sense of participation (such as watching a boring game absent-mindedly in a gym), or it can be a sense of participation without being present (such as on TV). Watching his beloved team play in front of the plane, swinging his body involuntarily). Gutierrez and others suggested that virtual reality should be placed in a "real-virtual" continuum for investigation, that is, a continuous spectrum of "real environment-augmented reality-augmented virtual-virtual reality".
In short, virtual reality is both a technology and an experience. It is attached to a set of media devices. By starting this device, virtual reality is unfolded, allowing us to obtain various experiences including immersion, presence, and interaction.
Now that technology is accelerating its maturity, the capital that has heard the wind is pushing hard, and the virtual reality that is about to land has become famous. It is foreseeable that virtual reality is destined to be a constantly updated concept, and its indicators will rise with technological innovation. Science fiction predicts the future prospects of virtual reality, while technology supports and defines the actual boundaries of virtual reality.
Time Machine Promise
Virtual reality gives us a ambition: because of virtual, you will do everything.
This is also the most exciting part of virtual reality. Virtual reality is like a time machine that can travel through time and space at will, or like a portal in mythology, sending us to parallel universes full of countless miracles and infinite possibilities. Howard Reingold said, "Virtual reality is a magical window to another world, or the real reality disappears suddenly behind the screen."
Virtual reality is now used in film and television, games, medical care, adventure, military, education and other fields. For example, "The British Museum uses virtual reality to transport visitors to the Bronze Age." "The Guardian" even published an article discussing "how virtual porn can bring world peace."
The U.S. military's "Virtual Iraq" project applied virtual reality technology earlier. According to statistics, more than 20% of Iraqi military veterans suffer from "post-traumatic stress disorder", which is a mental disorder that is traumatic and re-experienced after experiencing huge psychological trauma. For example, when a veteran is driving on the streets of the United States, he sees a child running across from him, which may trigger his war memory of the child run over by the convoy or even by himself, and then generate anxiety, guilt, self-loathing and other emotions. "Virtual Iraq" can reproduce the war scenes for the veterans: wind and sand roaring, glass shattering, bazaars bustling, mortars from far and near, and even the smell of charred bodies can be simulated. This technology-based "exposure therapy" attempts to allow veterans to "return" to the battlefield, break the original connection in memory, prevent daily events from evoking painful memories, and thereby reduce patients' panic. Facts have proved that the effect is good.
Virtual reality provides an immersive experience, and users will truly "empathize". Some people assert that virtual reality will become the "ultimate empathy machine." The documentary "Clouds over Sidra Bay" (2015), filmed with virtual reality technology, tells the story of a 12-year-old in the Zatari refugee camp in Jordan. The film was screened for the first time at the World Economic Forum in Davos in 2015. These prestigious participants from all over the world may not have the opportunity to walk into the tents of the Jordanian refugee camps in their entire lives. With the help of virtual reality, they suddenly found themselves in it, sitting on the ground with the refugees, experiencing the hardships of life.
In the not-too-distant future, cyberspace may become the next platform for virtual reality. Science fiction novels such as "Nerve Wanderer" (1984) and "Avalanche" (1992) show us a cyberspace parallel to the real world and a virtual three-dimensional space that can be accessed at any time. People who are isolated from each other in the real world can communicate and interact through their "avatars" in cyberspace. This kind of communication is not a simple message transmission, but a face-to-face contact of "incarnation". William Gibson in "Nerve Wanderer" predicted a cyberspace that entraps humans in the media and excludes daily life.
Science fiction works are often full of confidence in the future of virtual reality: virtual reality technology will eventually be integrated into our daily lives and restructure our world, and we will gradually migrate into the virtual world.
The threat of hallucinogens
The reason why virtual reality is so popular is that it is a cheaper and safer hallucinogen. The experience that used to be obtained only by long-distance travel, long-term reading, and long-term social interaction can now be obtained with one click, so that the original magic and moving have become cheap and easy to obtain. Many people applaud virtual reality. They believe that being addicted to virtual reality is not a bad thing-even if people are not addicted to virtual reality, they are very likely to indulge in other vices, such as gambling or drug abuse. In contrast, indulging in virtual reality is a good choice.
However, opponents insist that this digital hallucinogen is not harmless. Mike Madrid and others recently pointed out that the ethical dilemma of virtual reality is reflected in four aspects: first, psychological problems caused by long-term addiction; second, users interact frequently with virtual reality, but ignore the interaction in the real environment ; Third, the content provided by virtual reality may have risks (such as violence, eroticism); fourth, personal privacy is infringed.
The producers of virtual reality always encourage us to access virtual reality immediately, but they do not guarantee that we can return safely. The reality and the virtual version are often very different. The reality is too pale, too bad, too difficult, and barren like ruins. In the future, will we avoid the virtual world for a long time and lose the courage to withdraw and return?
"Characters trapped in virtual reality" is one of the themes that science fiction works are happy to express. We should probably ask whether virtual reality means a potential imprisonment: the restless trapped people wish to return to reality immediately, but they cannot find the "exit" button. Science fiction movies such as "The Matrix" (1999) and "Inception" (2000) warn us: Will virtual reality be regarded as the only reality? Can we really distinguish between virtual reality and real reality?
In virtual reality, what kind of "incarnation" will you have? What kind of rules will it follow? Will this reshape our social attitudes, such as making us more violent in reality? The movie "Game of the Senses" (1999) discussed this: in the future, people will be crazy about games. People can't wait to connect the game drive and the body, and enter a virtual reality that is just like a fake. In the game, people can do evil and kill wantonly, because all the results can be undone with one click. The frightening thing is that the originally fragile dividing line between reality and illusion is falling apart. The game drive that wriggles like a tumor constitutes a metaphor: virtual reality has become an inescapable parasitic beast, and the user is the host at its mercy.
In addition to being lost, does virtual reality also mean a kind of manipulation? In the movie "The Matrix", a hacker who likes to snoop accidentally discovers the ultimate secret: the so-called "real world" is simulated! The truth behind it is that robots have been enslaving humans and using them as energy sources for centuries. Everyone's body is actually imprisoned in a weird, creamy cocoon, but in their consciousness they lead a life like ordinary people.
Cultural historian Mike Jay once introduced a mental illness called "Trumen's delusion", that is, patients are convinced that someone is secretly filming their lives and broadcasting it as a reality show on TV. Jay pointed out insightfully that this is not only a specific mental illness, but also a common paranoid symptom of mankind in the era of globalization: the pervasive media distorts our concept of reality and makes us believe that we are the center of the universe.
A desert herder is more likely to believe that he is going to be buried alive in sand by the Djinn, while for urban Americans, he is under surveillance by the CIA implanted with a chip...It is not so much that the patient is alienated from the surrounding culture. It is better to say that they are swallowed up by culture: because of the inability to establish the boundaries of themselves, and because of the patients' super perception of social threats, they can often only be at their mercy.
This is the delusional fable of the era of delusion, it tries to make us believe that we are in a huge conspiracy that is hard to detect by ordinary people.
When technology fans are rejoicing in virtual reality, science fiction movies have already made pessimistic predictions to us. When virtual reality overwhelms reality, or virtual reality invades reality and replaces it, where should we go? The unstoppable spinning top at the end of "Inception" reminds us: sometimes it's not that simple to get out and return.
It seems necessary for us to reflect: Is horror a delusion, or is horror already on the way?
Post-human body
Science fiction works paint a terrible picture of virtual reality for us: the people who indulge in it may confuse the boundary between virtual and reality, lose themselves, and even be manipulated by others. However, Langdon Wenner reminds us: sometimes there is not a huge conspiracy behind the technology, but the technology itself initiates a trend that inevitably restructures the world with its own logic. Virtual reality as a technology may reconstruct our world, including our bodies.
In 1985, Donald Haraway published the "Cyborg Manifesto: Feminism in Science, Technology, and Socialism in the Late 20th Century." Haraway declared that the boundary between natural life and man-made machinery no longer exists. "Our machines are disturbingly vigorous, and we ourselves are frighteningly sluggish." Haraway asserted that we will all become "cyborgs," a "cybernetic organism, a hybrid of machines and organisms." It is also a mixture of reality and virtuality.†Haraway insists that our bodies will be transformed by technology, which is irresistible.
One of the most subversive aspects of post-humanism is that "the premise of self-sufficiency and unity of the body has begun to shake." Zhao Rourou called it "the awakening of the Sphinx," which means that the Sphinx can now be calm. Accept your own cyber identity, and even be proud of it, instead of being as embarrassed as before-because everyone is a sphinx.
Individuals are undergoing unprecedented virtualization transformation and are constantly being absorbed by information technology.
Scott Buckman pointed out in "Terminal Identity: Virtual Subject in Postmodern Science Fiction" (1993): In the era of terminal identity, subject and information technology are tightly bound, "simulated, deformed, altered, reorganized, genetically Transformation, even being completely ablated," becomes a new type of subject that is tightly connected. Cyberspace uproots the things that traditional society relies on, transforming us into "post-humans" and forcibly bringing us into a state of "discrete network" in order to connect with the large-scale global data flow.
Buckman pointed out that Baudrillard’s article attempts to transform the body into a device that can be fully absorbed by the remote interface. The body is no longer a metaphor or symbol, and there is nothing else under the skin. Nowadays, the body means an infinite interface, which also means that the subject is broken and obscure.
Futurists have more radical judgments about the future. They believe that the human body will become insignificant or even dispensable in the future. In the book How We Become Post-Humans (1999), Catherine Hals pointed out that the “de-physicalization†of information prompted the transformation of humans into post-humans. "Debodyization" means that human beings gradually withdraw from the physical body and become a collection of information. Human consciousness can even be downloaded and stored forever like downloading computer data, becoming a "brain in a tank."
There is no essential difference or insurmountable between physical existence and computer simulation. The concept of "self" in the traditional sense is no longer applicable to post-humans. In the view of liberal humanists, cognition precedes the body, which is an object to be controlled; in the eyes of cybernetics, the body is nothing but a container for carrying information code; post-humanism goes further, directly "erasing" "The subjective body, the body can be replaced by machinery, and the subjective consciousness does not need to rely on it.
However, many scholars do not agree with the radical thesis of futurists. At least for now, the judgment of "de-bodyization" is too early. Virtual reality has not completely "erased" the body, but instead highlights the important position of the body in media interaction.
Ken Hillis argued in "Digital Sensation: Space, Identity and Embodiment in Virtual Reality" (1999) that virtual reality promises that we can abandon our physical bodies and "wander" in cyberspace in the form of pure data. , But this is actually not easy to do. We may be able to enjoy the "freedom of escaping from the fragile and perishable physical world and real space", but this is just a new form of physical sensation, not really "free from the physical body."
However, the change of human body perception has become an inevitable trend. Different from Descartes' dual ontology of "body and soul," French thinker Maurice Merleau-Ponty believed that the body is the relevant item that relates us to the world. He emphasized the physicality of perception and the intentionality of the body.
Following Merleau-Ponty’s thinking, Mark Hansen believes that new media technology has re-adjusted the relationship between body and technology. Technology attempts to re-mediate the relationship between our body and the world through motion capture, sensory stimulation, and visual interface. Now it's the body's turn to appear. Vision no longer has the upper hand. The perceptual experience of vision will turn to the somatosensory experience of the body.
The above two judgments on the fate of the human body reflect the fact that the post-human body mediated by technology is increasingly becoming the center of attention and controversy. However, these two judgments are not absolutely contradictory: "Dephysification" may only be a more distant future, not a prospect within our current vision.
Whether it is "de-bodyization" or "changes in the way of physical experience," the orientation of multi-sensory experience is the same: various sensory experiences such as audiovisual touch will be realized in the progressive virtual reality.
The long-neglected and suppressed body under the envelope of modern visual culture no longer succumbs to vision, but comes to us hand in hand with the rising virtual reality.
Escape into the fantasy world is the eternal dream of mankind, and virtual reality is regarded as the ultimate way to realize this dream. The name of virtual reality has already pointed out its ultimate mission, which is to create an unprecedented virtual world. This is not in the indefinite distance, but a future that has been approaching us with a dark cloud over the city.
ZGAR Aurora 1800 Puffs
ZGAR electronic cigarette uses high-tech R&D, food grade disposable pod device and high-quality raw material. All package designs are Original IP. Our designer team is from Hong Kong. We have very high requirements for product quality, flavors taste and packaging design. The E-liquid is imported, materials are food grade, and assembly plant is medical-grade dust-free workshops.
Our products include disposable e-cigarettes, rechargeable e-cigarettes, rechargreable disposable vape pen, and various of flavors of cigarette cartridges. From 600puffs to 5000puffs, ZGAR bar Disposable offer high-tech R&D, E-cigarette improves battery capacity, We offer various of flavors and support customization. And printing designs can be customized. We have our own professional team and competitive quotations for any OEM or ODM works.
We supply OEM rechargeable disposable vape pen,OEM disposable electronic cigarette,ODM disposable vape pen,ODM disposable electronic cigarette,OEM/ODM vape pen e-cigarette,OEM/ODM atomizer device.
Aurora 1800 Puffs,Pod System Vape,Pos Systems Touch Screen,Empty Disposable Vape Pod System,1800Puffs Pod Vape System
ZGAR INTERNATIONAL(HK)CO., LIMITED , https://www.oemvape-pen.com